{"title":"Alfred Sisley","description":"\u003cp\u003e\u003cb\u003eAlfred Sisley\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eThe Impressionistic landscape painter Alfred Sisley was born on 30 October 1839 – 29 January 1899) and lived much of his time in France but kept his British citizenship. He was the Impressionism who drew landscapes outside the studio the most frequently (i.e., outdoors). Unlike Renoir and Pissarro, he rarely wandered into figure painting and discovered that Impressionism satisfied his artistic requirements.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eA sequence of pictures he completed in 1874 of the River Thames, mainly in the region around Hampton Court, and landscape pictures of locations in or close to Moret-sur-Loing are among his major works. Like many of his landscapes, the beautiful paintings of the Seine and its arches in the former suburbs of Paris are calm and are drawn in soft hues of pink, cream, green, dusty blue, and purple, as are many of his landscapes. The expressional force and color intensity of Sisley's work grew over time.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eLife and times\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eRich British parents gave birth to Sisley in Paris. His mother, Felicia Sell, was a highly educated music enthusiast, while his father, William Sisley, was employed in the cotton textile industry.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eAt 18 years old, Alfred Sisley was taken to London in 1857 to explore a career in finance, but he decided to give up after just four years and returned to Paris in 1861. In the atelier of Swiss artist Marc-Charles-Gabriel Gleyre, he studied at the Paris École des Beaux-Arts in 1862, where he met Frédéric Bazille, Claude Monet, and Pierre-Auguste Renoir. Consequently, they would paint outside rather than in the laboratory to accurately portray the fleeting effects of sunlight. This unusual method produced paintings that were more colorful and extensively drawn than what the audience was used to seeing at the time. Sisley and his friends had limited opportunities to display or promote their art. The judges at the yearly Salon, France's most renowned art show, typically rejected their creations. Sisley, however, was in a better financial situation than some of his colleagues throughout the 1860s since he got a stipend from his father.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eSisley started dating a Breton in Paris named Eugénie Lescouezec (1834-1898), also known as Marie Lescouezec, in 1866. Son Pierre was born in 1867, and daughter Jeanne was born in 1870. (1869). At the period, Sisley lived close to the Café Guerbois, where many Parisian painters congregated, and Avenue de Clichy.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eWhile his works were selected for the Salon in 1868, both the show and the following ones were financially and critically successful for him.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eThe Franco-Prussian War broke out in 1870, which led to the collapse of Sisley's father's business and the artist's dependency on the selling of his creations as support. He would continue to live in poverty because his paintings' worth greatly improved after his passing. However, Sisley would periodically receive financial help from patrons, which allowed him to do various things, including take a few quick journeys to Britain. Following the first autonomous Impressionist exhibition, the first of these did take place in 1874. A series of nearly twenty wall paintings of the non-tidal Thames at East\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eMolesey and below its Hampton Court Bridge, where the south bank turns into Thames Ditton, were the result of spending weeks in the southwest of England. Art dealer Kenneth Clark later referred to these paintings as \"a right moment of Painting and sculpture.\"\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eSisley returned to Britain again for a brief while in 1881.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eSisley and his companion returned to the country in 1897, and on August 5, 1897, they were wed in Cardiff, Wales, at the Cardiff Register Office.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eThey decided to stay in Penarth, the place of at least six oil paintings by Sisley of the sea and cliffs. He made at least eleven oil paintings in the vicinity of Rotherslade (then known as Lady's Cove) and Langland Bay after they relocated to the Osborne Hotel in Langland Bay on the Gower Peninsula amid August. In October, they left for France once more. Sisley's trip to his ancestral home was his final one. Two of his oil paintings of Langland and Penarth are kept by the National Museum of Cardiff.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eSisley tried to obtain French citizenship the next year but was denied. A 2nd application was submitted and was preceded by a police report, but Sisley's health precluded him from changing his citizenship before his death.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eA few months after the ability to pass off his wife, he passed away on January 29, 1899, in Moret-sur-Loing, France, at the age of 59 from throat cancer. His stays were interred in the Moret-sur-Loing Cemetery beside those of his wife.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eWorks\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eThe student work of Sisley is gone. Dark browns, greens, and light blues are the bright colors in his first gloomy landscape paintings. They were commonly put to death in Saint-Cloud and Marly. Little is known about Sisley's correlation to the paintings of J. M. W. Turner and John Constable, which he might have seen in London. Still, some have presumed that these artists — Gustave Courbet and Jean-Baptiste-Camille Corot — may have effected his growth as an Expressionistic painter.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eThe subject matter and flair of earlier present painters Edouard Manet and Camille Pissarro served as inspiration for him. Monet, whose work Sisley mimics in both style and subject matter but whose results are more subdued, has eclipsed Sisley among the Impressionists. His work powerfully evokes the atmosphere, and his grey clouds are consistently impressive. Art expert Robert Rosenblum described his paintings as having \"almost a generic character, an impersonal textbook idea of a perfect Impressionist painting.\" More commonly than any other Expressionistic painter, he emphasized the landscape.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eThe Art Institute of Chicago seems to own Sand Heaps and Main road in Moret, two of Sisley's most well-known pieces. The Arch at Moret-sur-Loing is on exhibit at the Musée d'Orsay in Paris. 3 times from the Musée des Beaux-Arts in Nice, Allée des peupliers de Moret (The Lane of Poplars at Moret) has been stolen: once in 1978 while on the line of credit in Marseilles (recovered a few days later in the city's sewers), once in 1998 (when the museum's curator was convicted of the theft and sentenced to five years in prison with two accomplices), and once in August 2007. (on 4 June 2008, French police recovered it and three other stolen paintings from a van in Marseilles).\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eThere have been a lot of fake Sisleys found. Around 900 oil paintings, 100 pastels, and numerous other drawings were made by Sisley.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eSeveral Sisley pieces were stolen from Jewish art collectors during the Nazi era (1933–1945) by Nazis or their agents as part of the widespread Jewish plundering that accompanied the Holocaust. In a ceremony held in Paris on June 18, 2004, Sisley's Soleil de Printemps, le Loing (1892) was returned to the Louis Hirsch family.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eAlain Dreyfus, a Swiss art dealer, and Christie's bidding company got into a fight in 2008 over a Sisley painting called First Day of Spring in Moret that the Lindon family was appealing over in Paris. Before identifying the work for sale, Dreyfus claimed that Christie needed to investigate the history or authenticity of the piece sufficiently.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eAlso in 2008, an agreement with the descendants of Benno and Frances Bernstein, who had held the Sisley Bateux en Réparation à Saint Mammès (1885) before Nazi rule, was achieved after it was confirmed that the Nazis had looted the painting.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eThe Nazi looting group known as the E.R.R. was known to have considered several more Sisleys, including Winter Landscape, but they have never been recovered.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eThere are 24 listings for Sisley on the German Lost Art Foundation.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eFamous Artworks\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eUnder Hampton Court Bridge (1874)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eThe Terrace at Saint-Germain, Spring (1875)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eThe Small Meadows in Spring, By (c. 1881)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eAvenue of Chestnut Trees near La Celle-Saint-Cloud (1865)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eView of Montmartre from Cité des Fleurs to Les Batignolles (1869)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eThe Bridge at Villeneuve-la-Garenne (1872)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eLouveciennes. Sentier de la Mi-côte [fr] (1873)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eHampton Court Bridge (painting) (1874)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eMolesey Weir – Morning (1874)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eRegatta at Molesey (1874)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eFerry to the Ile-de-la-Loge – Flood (1872)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eLa Grande-Rue, Argenteuil (c. 1872)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eSquare in Argenteuil (Rue de la Chaussee) (1872)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eFootbridge at Argenteuil  [fr] (1872)\u003c\/span\u003e\u003c\/p\u003e","products":[],"url":"https:\/\/www.canvasdirect.com.au\/collections\/alfred-sisley.oembed","provider":"Canvas Direct ","version":"1.0","type":"link"}